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Uramado

November 1960

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Cover of Uramado, November 1960

Issue Details

Volume
5
Issue
12
PDF pages
211

Summary

The November 1960 issue of Uramado is a dense mixture of erotic fiction, sadomasochistic fantasy, psychological and cultural commentary, nude photography, translated fiction, reader material, and illustrated historical or sensational narratives. Its opening immediately establishes this range. The illustrated story The Woman in the Noh Mask Writhes follows a traveler who encounters an uncanny masked woman and is interrupted by the photographic portfolio Hanged Woman, credited to Yoshida Hisashi. The issue then shifts to Kurihashi Yuzuru’s The Collection of Old Man Kashichi, a story about a wealthy eccentric’s obsessive collection of photographs, followed by Yoda Seiji’s White Hostage in Torment, an illustrated captivity narrative set amid political upheaval and racialized pulp-adventure imagery.

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A more documentary or essayistic register appears in Yoshida Yoshio’s Considerations on Burning at the Stake, which discusses historical execution by fire, bodily injury, suffocation, and examples such as Joan of Arc. Modern MASO Customs: Men Beneath Women’s Buttocks by Izumiya Hiroshi examines male submission, female authority, gender reversal, and fantasies of being physically dominated by women. Morishita Takashige’s Invitation to Masochism in Publications and Printed Matter II surveys representations of masochism in books, magazines, illustration, and popular culture. The translated serial Manhattan Club III, attributed to George Kelly, adds a Western erotic-fiction setting before Female Spy and Ogre Military Policeman returns to espionage, interrogation, and coercive sexuality.

The middle of the issue alternates prose and photography. Black-Hair Stroll combines long-haired female imagery with reader-oriented commentary, while Nishida Jin’s The Glory of Wicked Women examines destructive or transgressive women through historical and fictional examples. A Pose, photographed by Yoshida Hisashi, forms a substantial nude portfolio whose modern graphic layouts use arrows, framing devices, and cropped body studies. The White-Haired Demon of Obsession resumes illustrated erotic melodrama, followed by Captured Composition, another extended photographic study emphasizing folded, constrained, and enclosed poses. Ama Tetsurō’s The Man Who Wanted to Become a Maid explores male submission and service to women, and The Devil Peers into the Bathroom returns to voyeurism, coercion, and domestic erotic fantasy.

The later pages continue the magazine’s wide tonal range. The Tickle Room treats bodily sensitivity and erotic torment, while New Film Introductions provides contemporary cinema commentary. Sunō Hideo’s I Am an Ear-Hole Cleaner develops an eccentric sexual profession into a long humorous-erotic narrative. Uramado Town functions as a miscellany of anecdotes, short observations, popular culture, and sexual curiosities. Muraoka Fujisato’s A Liar’s Last Testament II adopts a criminological frame, discussing offenders, family background, and criminal psychology. The final major serial, Iida Toyokichi’s Legend of the Demon Breasts, occupies a large late section and blends period adventure, sexuality, violence, and grotesque melodrama. A closing nude selection and Nakajima Yoshimi’s illustrated Evil’s Retribution precede advertisements and publication notices. Overall, the issue presents Uramado as simultaneously an SM magazine, erotic literary journal, photographic publication, popular-sexology forum, and eclectic archive of abnormal or marginal culture.

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Table of Contents 24 items
  1. The Woman in the Noh Mask Writhes by Tsukumo Jūrō
    9–14, 62–65
  2. Hanged Woman by Yoshida Hisashi
    10–13
  3. The Collection of Old Man Kashichi by Kurihashi Yuzuru
    20–27
  4. White Hostage in Torment by Yoda Seiji
    28–37
  5. Considerations on Burning at the Stake by Yoshida Yoshio
    38–42
  6. Modern MASO Customs II: Men Beneath Women's Buttocks by Izumiya Hiroshi
    44–53
  7. Invitation to Masochism in Publications and Printed Matter II by Morishita Takashige
    54–61
  8. Manhattan Club III by George Kelly
    66–73
  9. Female Spy and Ogre Military Policeman by Sasaki Keiichi
    76–83
  10. Black-Hair Stroll by Kurozaki Yoshiyuki
    84–87
  11. The Glory of Wicked Women by Nishida Jin
    88–98
  12. A Pose by Yoshida Hisashi
    99–106
  13. The White-Haired Demon of Obsession by Fujimi Shōichirō
    107–114
  14. Captured Composition by Fukamori Eiji
    115–122
  15. The Man Who Wanted to Become a Maid by Ama Tetsurō
    124–133
  16. The Devil Peers into the Bathroom by Tōjō Kyōtarō
    134–143
  17. The Tickle Room by Enjōji Tatsu
    144–149
  18. New Film Introductions by Sunaji Hiroshi
    150–153
  19. I Am an Ear-Hole Cleaner by Sunō Hideo
    154–167
  20. Uramado Town
    168–175
  21. A Liar's Last Testament II by Muraoka Fujisato
    176–183
  22. Legend of the Demon Breasts by Iida Toyokichi
    184–204
  23. Nude Masterpieces
    203–208
  24. Evil's Retribution by Nakajima Yoshimi
    204–207

Highlights

  • The Woman in the Noh Mask Writhes opens as an illustrated uncanny erotic tale in which a traveler encounters a mysterious masked woman; the story is interrupted and later resumed in the main numbered text. (PDF pp. 5–9, 57–60).
  • Hanged Woman by Yoshida Hisashi is an austere black-and-white nude portfolio organized around a woman posed with her arms raised beside a wrapped vertical support. (PDF pp. 10–13).
  • The Collection of Old Man Kashichi centers on an elderly collector obsessed with photographs and private images, making photography itself an object of fetishistic possession and secrecy. (PDF pp. 15–22).
  • White Hostage in Torment combines political-adventure fiction with captivity, interrogation, chained restraint, and racialized pulp imagery in a long illustrated sequence. (PDF pp. 23–32).
  • Considerations on Burning at the Stake treats execution by fire as a historical and physiological problem, discussing methods of burning, suffocation, injury, and famous cases including Joan of Arc. (PDF pp. 33–37).
  • Modern MASO Customs: Men Beneath Women's Buttocks explicitly examines fantasies of female superiority, male submission, humiliation, and reversal of conventional gender authority. (PDF pp. 39–48).
  • A Pose is a large Yoshida Hisashi photographic study whose layouts use arrows, black framing blocks, close crops, and repeated views to turn the nude body into a sequence of graphic compositions. (PDF pp. 94–101).
  • The Man Who Wanted to Become a Maid explores male service, feminized domestic roles, submission, and female authority through a sustained comic-erotic narrative. (PDF pp. 119–128).
  • A Liar's Last Testament II adopts a quasi-criminological approach, using offender histories, family structures, and statistical categories to discuss criminal personality and social background. (PDF pp. 171–178).
  • Legend of the Demon Breasts is the principal late serial, combining period adventure, erotic grotesquerie, violent encounters, supernatural suggestion, and extensive illustration before the closing pictorial and editorial material. (PDF pp. 179–199).

Contributors

Named contributors represented in this issue:

Kinbaku Today is an independent online journal dedicated to the study, practice, and cultural history of Japanese rope bondage. Blending essays, translations, interviews, and archival research, it explores kinbaku not simply as technique, but as a living dialogue between history, performance, and human connection.
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